In a world which really is topsy-turvy,
the true is a moment of the false.
(Guy Debord, 1967)

From the cosmic to the domestic, the camera sees what it sees, and the mind perceives. Photographic seeing, with its fixed frame and duration of exposure onto film plane, finds bathroom lights reminding us of the real moon, whilst the ‘real’ moon appears strangely surreal.

These photographs play on different levels – as a simple trompe d’oeil, purely formal aesthetics or as a challenge to something primal within us all. Subconsciously, the moon evokes a connection with nature and the cycles of life; the False Moons represent a disconnection, found in our electrically powered nights, thus provoking confusion between ‘false’ and ‘real’.